Untitled from Tele-Constructions series, 1986.
"Baden wanted to represent how television not only mimics our lives and desires but is capable of creating a hierarchy of economic and moral values...Through the process of dismantling, fragmenting, and reassembling, Baden reanalyzes and reinterprets television's symbolic language. Baden states: "The prints are made from BW negatives. The color is subjective, not derived from the source images. This is done so that the idea of the color will be psychological rather than literal, the resultant piece being based more on mood or feeling than fact.""
This photograph and the conceptual development of the photograph interested me in the context of our conversations relating Infinite Jest to an exploration of televisual culture. Particularly the idea of the subjectivity of of what is seen in the photograph, the acknowledgment that while photographs are necessarily a reflection of something that actually existed and occurred (barring a discussion of photo-editing), that what we see, a reflection, is not what was there. Furthermore, these images are fragmented by and inside one another, so that even the reflection of some reality that the photo first appeared to portray is obscured.
"Baden wanted to represent how television not only mimics our lives and desires but is capable of creating a hierarchy of economic and moral values...Through the process of dismantling, fragmenting, and reassembling, Baden reanalyzes and reinterprets television's symbolic language. Baden states: "The prints are made from BW negatives. The color is subjective, not derived from the source images. This is done so that the idea of the color will be psychological rather than literal, the resultant piece being based more on mood or feeling than fact.""
This photograph and the conceptual development of the photograph interested me in the context of our conversations relating Infinite Jest to an exploration of televisual culture. Particularly the idea of the subjectivity of of what is seen in the photograph, the acknowledgment that while photographs are necessarily a reflection of something that actually existed and occurred (barring a discussion of photo-editing), that what we see, a reflection, is not what was there. Furthermore, these images are fragmented by and inside one another, so that even the reflection of some reality that the photo first appeared to portray is obscured.
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